The Bauhaus sought to unite life, craftsmanship, and art under one roof. In this volume, Walter Gropius provides a comprehensive overview of the Bauhaus workshops. He explains the basic principles guiding the teaching, describes contemporary developments in architecture, and illuminates the Bauhaus point of view on household utensils, which was geared toward finding the most suitable form for the respective object. Here, Gropius presents the Bauhaus workshops in Weimar devoted to furniture, metals, textiles, and ceramics, among other subjects.

A New American Sculpture, 1914-1945 is the first publication to situate the individual contributions of Gaston Lachaise, Robert Laurent, Elie Nadelman, and William Zorach into a compelling constellation of artists with shared aesthetic and social concerns. Although each European-born, American artist cultivated his own distinct style, their creative priorities were all deeply rooted in quiet composition, synthetic approaches to anatomy, and architectural unity of curves and volume. At a time when abstract forms were popular, Lachaise, Laurent, Nadelman, and Zorach were all ultimately in favor of maintaining the integrity of the human body to explore modernist styles. This handsome book underscores their unrelenting search for a novel American visual tradition at the intersection of modernism, historic visual culture, and contemporary popular imagery. Distributed for the Portland Museum of Art Exhibition Schedule: Portland Museum of Art (05/26/17-09/08/17) Memphis Brooks Museum of Art, Memphis, Tennessee (10/14/17-01/07/18) Amon Carter Museum of American Art (02/17/18-05/13/18)

Short-listed for the Fage & Oliver Prize for outstanding scholarly work published on Africa. Finalist, African Studies Association Book Prize. Finalist, ASA Bethwell A. Ogot Prize for best book in east African studies. If modernism initially came to Africa through colonial contact, what does Ethiopia's inimitable historical condition--its independence save for five years under Italian occupation--mean for its own modernist tradition? In Modernist Art in Ethiopia--the first book-length study of the topic--Elizabeth W. Giorgis recognizes that her home country's supposed singularity, particularly as it pertains to its history from 1900 to the present, cannot be conceived outside the broader colonial legacy. She uses the evolution of modernist art in Ethiopia to open up the intellectual, cultural, and political histories of it in a pan-African context. Giorgis explores the varied precedents of the country's political and intellectual history to understand the ways in which the import and range of visual narratives were mediated across different moments, and to reveal the conditions that account for the extraordinary dynamism of the visual arts in Ethiopia. In locating its arguments at the intersection of visual culture and literary and performance studies, Modernist Art in Ethiopia details how innovations in visual art intersected with shifts in philosophical and ideological narratives of modernity. The result is profoundly innovative work--a bold intellectual, cultural, and political history of Ethiopia, with art as its centerpiece.

Deco dandy contests the supposedly exclusive feminine aspect of the style moderne (art deco) by exploring how alternative, parallel and overlapping experiences of decorative modernism, nationalism, gender and sexuality in the years surrounding World War I converge in the protean figure of the 'deco dandy'. The book suggests a broader view of art deco by claiming a greater place for the male body, masculinity and the dandy in this history than has been given to date. Important and productive moments in the history of the cultural life of Paris presented in the book provide insights into the changing role performed by consumerism, masculinity, design history and national identity. -- .

Modernism ushered in some of the most exciting innovations in art and literature, from Fauvism, Cubism, and Dada, to the novels of James Joyce and Franz Kafka, to such provocative works as Marcel Duchamp's "Fountain." But Modernism also left many people puzzled in its wake. How can a routine bathroom fixture be considered a work of art? Shouldn't a novel have a beginning, a middle, and an end--or at least a story? In this Very Short Introduction, Christopher Butler provides a coherent account of Modernism across various aesthetic and cultural fields. Butler examines how and why Modernism began, explaining what it is and showing how virtually all aspects of 20th and 21st century life have been influenced by its aesthetic legacy. Butler considers several aspects of modernism, including some classic modernist works, movements and notions of the avant garde, and the idea of "progress" in art. Finally, Butler sheds light on modernist ideas of the self, subjectivity, irrationalism, people and machines, and the political dimensions of modernism as a whole.
About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.